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# “Transdisciplinary Design: Patterns, Pattern Languages...”
# Introduction
The course complements Tufts’ design offerings but is unique in its focus on transdisciplinarity. Per[ Unesco](http://www.ibe.unesco.org/en/glossary-curriculum-terminology/t/transdisciplinary-approach), by _transdisciplinarity_ we mean: “an approach to curriculum integration which dissolves the boundaries between the conventional disciplines and organizes teaching and learning around the construction of meaning in the context of real-world problems or themes.” The course is built around a simple tool: _design patterns_, which are descriptions of solutions to a problem in a context. Do not be fooled by either the simplicity of the tool or the complexity of the challenge: this course is designed to change your life.
![alt_text](images/image1.jpg "image_tooltip")
Why this, why now? Because the world confronts us with problems that are too complex for one discipline alone! Here’s what the course is all about:
* We introduce design patterns and pattern languages, which have been applied across many different disciplines, to support many different kinds of projects and collaborations.
* Building on this material we develop our own transdisciplinary practice: we learn how to use, as well as to critique, adapt, and extend pattern-based methods, and we develop an ability to work and think across disciplines.
* We put these tools and insights to bear in impactful projects.
The Transdisciplinary Design course will accordingly be interesting to students familiar with[ Design Practice](https://it.tufts.edu/about/organization/design-practice), but is by no means limited to them. Software Engineering Design Patterns are taught in COMP 180, and we hope that[ Computer Science](https://engineering.tufts.edu/cs/) students will be interested in exploring new applications of a concept they know in that context. Tufts was home to the 1st International Conference on Urban Experience and Design, in 2019, and we hope that students in[ Urban and Environmental Policy and Planning](https://as.tufts.edu/uep/) will use this course as a venue in which to elaborate on related themes. Students in the[ Creative Writing](https://ase.tufts.edu/english/undergraduate/creativeWriting.htm) program will be glad to know that we will use a Writers Workshop as our primary method for formative evaluation, and we hope that some of them will join us. Students in the Departments of[ Education](https://as.tufts.edu/education/) and[ Economics](https://ase.tufts.edu/economics/), and the Institute for Global Leadership, may be interested in the applications of patterns to peer learning and peer production that are developing in the Peeragogy Handbook, edited by the course leaders. (These themes were touched on in the earlier ExCol course “Hit Refresh: Critical Perspectives on Power, Data, and Technology”.) Since this course is designed to be maximally transdisciplinary, we hope that students in[ Philosophy](https://as.tufts.edu/philosophy/) will also be intrigued and will come help us sort out the complexities and open questions this present. Others from across the student body are most welcome as well: we expect that the course experience can be tailored to suit any interest! A core set of readings will give all students a foundation in design patterns and pattern languages. We will then branch out with individual readings in the pattern literature and beyond. At the heart of the course is a Writers Workshop in which students will develop their own patterns and pattern languages. Final projects will take one of two forms:
* A written pattern language, which may be developed in collaboration with other students, and improved through revision in the Writers Workshop; or,
* A collaborative applied design project that uses one or more pattern languages, in practice, together with a short essay describing the project.
Some ideas of concrete projects of both types are described later in this syllabus.
# Background
Christopher Alexander’s notion of an architectural design pattern — succinctly described as “a solution to a problem in a context” — was subsequently adopted and adapted within the field of computer programming. This trend received a large boost with the invention of wiki software, which was first used to collect and curate collections of such patterns. Subsequently, design patterns have been applied to other domains including social activism, the transition movement, organizational development, disaster prevention, community innovation, and mental health, among others (Alexander et al. 1977; Beck & Cunningham, 1987; Gamma et al., 1995; Cunningham & Mehaffy, 2013; Schuler, 2009; Hopkins, 2010; Manns, 2015; Iba, 2016, 2017; Pierri & Warwick, 2016). The design pattern method is not without critics, and we foreground critical voices from the start.
## **Textbooks**
Recommended selections from these books will be part of each week’s agenda for the course, along with other short readings. We take a novel approach to the wider literature which will be described later in the syllabus, see “Homework Weeks 2 to 10”.
* R. P. Gabriel. (2002). Writers' Workshops & the Work of Making Things: Patterns, Poetry… (**WW** in the agenda)
* J. Corneli et al. (2015). Peeragogy Handbook (3rd Ed). (**PH** in the agenda.)
* H. Leitner. (2015). Pattern theory: introduction and perspectives on the tracks of Christopher Alexander. (**PT** in the agenda.)
## Materials and Technology
**Required**
* A blank, bound paper sketchbook of 100 pages or more
* An email account that you check regularly
* A browser- or cloud-based bookmarking scheme to aid your information management
* A personal computer, ideally Unix-based (Linux, BSD, OS X) if you plan to do computer programming as part of your contribution to the course
* A text editor
* A web browser
* Zoom software
* Video Camera & Microphone
**Recommended**
* Zotero to manage citations
* Personal blog
* Image-editing software (such as the free and open-source GIMP)
# **Course organisatio**n
Contact time each week will be divided into a Seminar, a Writers Workshop, and an Open studio.
1. Seminar will be 45 minutes featuring one or two seminar-style discussions led by students, typically walking through a paper or summarizing a book.
2. Writers Workshop will be a 45 minute long workshop-style interaction where students present and critique new written work, typically new design patterns. Early weeks of the course will include readings and demonstrations that show how this is done.
3. Open studio will be 1 hour each week to explore themes through play and hands-on work in concrete projects, and may include guest lectures and other smaller group activities.
The course will be taught “Virtually” (i.e., online). The course lead is **Joseph Corneli, PhD**. Other members of the Peeragogy project will help facilitate some of the online sessions.
## **Prior to Week 1**
Please read this entire syllabus.
## **Homework Weeks 2 to 9**
After Week 1, which has special readings assigned, students will be responsible for reading and taking turns presenting paper-length or (condensed) book-length works in a Seminar section.
**Unlike most courses where everyone reads the same thing, in this course students are free to choose materials that are germane to the discussion.**
It is not necessary to present pattern languages in the seminar sessions, though we think that around half of the presentations should be on pattern language material. The syllabus concludes with two lists, “Pattern Language Books” and “Additional Readings” — neither is an exclusive list; both have been selected to bring in broader themes relevant to our transdisciplinary work.
Students are expected to spend a total of 5 hours on homework per week ([minimum](https://ase.tufts.edu/faculty/committees/guidelinesAssigningCredit.pdf)), allocated as they choose between:
* Preparing their presentations,
* Completing readings, and
* Working on their final project.
The section on “Assessments” explains how this material will be evaluated.
## **Homework Weeks 10 to 13**
In these weeks we switch from required readings to required writing, leading up to a final project. Students should be prepared to publish their writings, which may require making revisions (e.g., if the work is published on Wikipedia). The final writing assignment is to produce a portfolio of the work produced in the course, and an evaluation of that work.
The section on “Assessments” explains how this material will be evaluated.
## **Guidelines for self-paced reading**
Since you will have other tasks for this course (not to mention other courses) 1000 pages in total is probably a good upper estimate of how many pages you might expect to read for this course during the semester. You are expected to take the initiative to find and digest supplementary materials, and to use them to support and structure your work and time outside of the course appropriately. You are welcome to read fewer total pages than the maximum, and are encouraged to find other ways to engage with the course content!
You are encouraged to use a tool like[ Zotero](https://www.zotero.org/) to log your reading and share your personal bibliography and notes, and also to share summaries and analysis more widely, e.g., in a blog, on Wikipedia, or in updates to the Peeragogy Handbook via pull requests on Github. Presenters are invited to enrich the presentations in their Seminar sections as they see appropriate.
As a developing scholar, a valuable skill to acquire is reading flexibility, skimming over material to get the general overview, comparing different sources, and focusing in on certain selections for reading at greater depth. For guidance, you may with to consult:
* “Good Readers, Good Writers” by Vladimir Nabokov [http://www.en.utexas.edu/amlit/amlitprivate/scans/goodre.html](http://www.en.utexas.edu/amlit/amlitprivate/scans/goodre.html)
* “How to Read a Book” by Mortimer Jerome Adler and Charles Van Doren [http://www.worldcat.org/oclc/794263150](http://www.worldcat.org/oclc/794263150)
# **Learning outcome**s
By the end of the course, students will be able to synthesize interventions relevant to transdisciplinary design challenges. Students successfully completing the course will build a portfolio of evidence that they can receive major challenges with compassion, respond with an awareness of diverse needs, value others’ perspectives and voices, organize effective transdisciplinary networks and strategies, and characterize constructive collaborative efforts and ways to support them.
# **Ideas for final projects**
The following list offers examples of “pattern language projects” and “collaborative design projects”. Feel free to come up with your own project plan. We will discuss projects in more detail from Week 5 of the course!
(Pattern language project.) Take a chapter from the Peeragogy Handbook that does not have patterns in it, and write a pattern language with 5-10 patterns based on that chapter. Workshop these during the weekly Writers Workshop and include them in the next edition of the book!
(Pattern language project.) Christopher Alexander’s thinking moved on after his work with pattern languages. Can you produce a pattern language that recasts Alexander’s fifteen principles from the _Nature of Order_ in pattern terms? Workshop several of these patterns and present them as a pattern language that can be applied in some real-world context (not necessarily architecture!).
(Pattern language project.) Can we extract re-usable patterns from the literature on MOOCS, crowdfunding and other collaborative or collective projects? What are the best ways we can “scale up” this course, or other peer-to-peer learning activities? And/or, how would we make peeragogy a more effective practical approach for projects at the local scale?
(Pattern language project.) Take the criticisms collected by Dawes and Ostwald and turn them into a ‘critical pattern language’. Demonstrate it with examples.
(Collaborative design project.) How do we measure, e.g., whether design patterns are actually useful? Set up a concrete experiment that assesses one or more patterns and shows how they produce a qualitative change in a group, e.g., do they lead to a feeling of happiness for participants?
(Collaborative design project.) Are we successfully inventing new ways of relating that address the needs of people with limited access to educational opportunity? What does the global need look like? What inventions and interventions are out there now? What’s missing? What is one small intervention that you can make in this area right away, using the ideas we’ve discussed in this course?
(Collaborative design project) Design a new game. Use existing design patterns (e.g., Kreimeier) and game ideas (e.g., Ralya) to inform your game and invite others to play test it in the Open Workshop.
(Collaborative design project) Can we develop our strategy for translating our learning within the Peeragogy project to (and from) diverse audiences? Who else should we be talking to? What other projects are doing similar things? Design an intervention using peeragogy.
(Collaborative design project) Borrowing a technique from religious studies (see Batchelor in recommended reading) we can ask: how does Peeragogy differ from other related approaches? Is the world ready for a global peer learning movement? What can peer learning contribute to ongoing peer production efforts and vice versa?
(Collaborative design project) Use local media stations or other resources to produce an online version of this course. This project is a bit different because it would probably need to get started near the beginning. How would we design a version of this course that could be scaled up and shared with many people around the world?
(Collaborative design project) Design an [event](http://plasticsfree.eu/repository/a25b9f7521c9586b5c0ccbd547cb946d2d5455e750140b3114287625e44b4c5d/Event_Design_TOOL.pdf ), and run it outside of course (or, design a course for ExCol and talk about how you will run it next semester).
# **Assessment**
Assessment will be based on two Seminar presentations and a final project. Each is to be accompanied by a 150-250 word written self-assessment. **It is these self-assessments which will be graded A-F using the[ Official Grading Guidelines](https://sites.tufts.edu/excollegefaculty/courseadmin/grading/).** This choice has been made so that students are able to challenge themselves at a high level in the course, taking risks they might not otherwise. Naturally, just saying “I did an excellent job in my presentation” would not be a satisfactory self-assessment, even if it is true. Michael Wride’s Guide to Self-Assessment (2017) is a helpful resource. Please raise any questions about self-assessment and grading in the Open Studio. This is the grading rubric we will use.
**A Superior work** - Embodying ‘transdisciplinary design’ while doing meritorious work
**B Meritorious work** - Evidence of learning, genuine risks (perhaps resulting in ≈30% failure), and robust self-assessment
**C Work without marked merit or defect** - Evidence of learning and self-assessment
**D Unsatisfactory work** - Little evidence of learning or participation
**F Failure** - No presentation/project, or no assessment turned in, no participation
Students should refer to the intended Learning Outcomes listed earlier in the syllabus when working on their self-assessments. Anyone completing the course with a passing mark can display this badge on their portfolio of work:
# Agenda
As a general note: each week we present a variety of different topics from different sources. Part of the challenge for course participants will be to think about how these topics relate (if they do relate). Part of your job is not just to look at them but critique these materials and analyse them (not just assimilate them). Not all of the relevant materials are contained in this syllabus, so you should be prepared to think outside the box to bring in other voices. Our goal is not to come to a consensus but to reveal the diversity and multiplicity of thought about the issues we are tackling. To the extent we can, we hope to represent both dominant and non-dominant voices relevant to our discourse.
### **Wk 1. Develop a collective intention**
The initial Seminar section will be facilitated by the course leaders. Since the course will involve a lot of thinking about co-design, we will start by co-designing the experience that we will have together. This syllabus is only a rough draft of the “Roadmap” we will be developing and maintaining together for the course. In the first session we will introduce, adapt, and distribute Rheingoldian “roles” for our co-learning (see Box 1 below) as well as a Project Action Review template (Box 2) that we will use to keep track of our progress in the Open Studio. In the first Writers Workshop we will explain how the Writers Workshop format works, and practice with an example. We will also have fun in the first Open Studio with our first game.
**Game: The Oracle for Transfeminist Technologies**
Varon et al. (2019) created a card deck designed to collectively envision and share ideas for transfeminist technologies in the future. This game is based on the assumption that people who are excluded by technology in today’s world are qualified to design future scenarios (Varon, 2020).
* Varon, J., Juliano, C., & Costanza-Chock, S. (2019). The Oracle for Transfeminist Technologies.[ https://www.transfeministech.codingrights.org/](https://www.transfeministech.codingrights.org/)
#### **Required Readings:**
* Alexander, C. & Poyner, B. (1973). The atoms of environmental structure. In Emerging Methods in Environmental Design and Planning. G.T. Moore (Ed.). Cambridge: MIT Press, 308–321. (A photocopy will be provided.)
* Alexander, C. (1996). The Origins of Pattern Theory, the Future of the Theory, And the Generation of a Living World. Keynote Speech to the 1996 OOPSLA Convention. IEEE Software (Volume: 16, Issue: 5, Sep/Oct 1999). pp. 71 - 82.
* Dawes, M.J., Ostwald, M.J. Christopher Alexander’s _A Pattern Language_: analyzing, mapping and classifying the critical response. City Territ Archit 4, 17 (2017).[ https://doi.org/10.1186/s40410-017-0073-1](https://doi.org/10.1186/s40410-017-0073-1). 14pp. (You should read the whole paper, but you may want to refer to the summary[ here](https://ingbrief.wordpress.com/2020/05/15/christopher-alexanders-a-pattern-language-analysing-mapping-and-classifying-the-critical-response-dawes-and-ostwald-2017/) first.)
* Ing, D. (2015). [2015/03/07 11:00 Jim Coplien, “A Challenge to the Japanese Pattern Language Community”, AsianPLoP](https://ingbrief.wordpress.com/2015/03/09/20150307-1100-jim-coplien-a-challenge-to-the-japanese-pattern-language-community-asianplop-2015/). 12pp.
* Leitner “Preface” (pp. 6-9)
(Dawes & Ostward present a good example of ‘critical thinking’. David Ing’s 2015 blog post will give an idea of the kind of experience that you might get when attending a Pattern Languages of Programs conference. We are modelling the course to some extent on that conference series, though we have much more time to work with!)
**Caveat Lector**: The first week’s required reading is 53 pages in total. If you find you are not able to complete these readings in a timely fashion, please examine these options:
* Is this a question of special needs, e.g., dyslexia or other issues for which adjustments may be made? See “Special Needs” for Tufts’ resources that can help.
* Is this a question of lack of interest? If so please consider dropping the course out of respect to your classmates.
```
Box 1: Rheingoldian Roles
Searchers: search the web for references mentioned during the session and other resources relevant to the discussion, and publish the URLs in the text chat
Contextualizers: add two or three sentences of contextual description for each URL
Summarizers: note main points made through text chat.
Lexicographers: identify and collaboratively define words and phrases on a wiki page.
Mappers: keep track of top level and secondary level categories and help the group mind-mapping exercise at the end of the session.
Curators: compile the summaries, links to the lexicon and mindmaps, contextualized resources, on a single wiki page.
Emergent Agendas: maintain a whiteboard for nomination and preference polling for agenda items.
```
```
Box 2: Project Action Review
Review the intention: what do we expect to learn or make together?
Establish what is happening: what and how are we learning?
What are some different perspectives on what's happening?
What did we learn or change?
What else should we change going forward?
```
### **Wk 2. A deeper dive into co-learning: First round of presentations of paper-length material.**
Reading and regurgitating written material tends to be fairly passive. Students should devise interesting ways to share the material they are engaging with, and use the time allotted within the Seminar section accordingly. This week, we will ask for volunteers to present either the summary of a paper or a small number of design patterns. Each student will focus on developing expertise in one or two domain topics during the course, along with shared knowledge about transdisciplinary collaboration. In this week’s Writers Workshop we will workshop some existing patterns and think about how they could be improved. In the Open Studio we will have fun with another game, and discuss all other business.
#### **Game: Flaws of the Smart City**
Design Friction (2016) created a card game exploring smart-city futures that Alexander may enjoy playing. The co-founder of Design Friction explains how the game tries to make it easier for those outside the design community to easily use future scenarios and design fiction (Kerspern, 2019).
* Design Friction (2016) Flaws of the Smart City [Card game]. Nantes, France: Design Friction.[ http://www.flawsofthesmartcity.com](http://www.flawsofthesmartcity.com)
**Required Readings: WW** “Part Two: Writers’ Workshop (pp. 53-166)”**, PH **“Foreword, Workbook”**, PT **“The concept of the Pattern” pp.66-73
### **Wk 3. Gain experience with agile project management**
This would be a great time for someone to present the book “Scrum Patterns”. We will also explain the method of ‘Next Steps’ that we use in the Peeragogy project to feed into our evolving roadmap. In the Writers Workshop, we will workshop some new patterns for peer learning in this course, with special attention to next steps. In the Open Studio, we will have fun with games and also design some exploratory next steps reaching into the future of the course.
#### **Game: Equitable Futures**
The Institute For the Future made this game to develop understandings of challenges to overcome as players try to find new ways to build a more equitable future and re-imagine our worlds for 2030 (Institute for the Future, 2019).
* Institute for the Future. (2019). Equitable Futures Toolkit.[ https://www.iftf.org/fileadmin/user_upload/images/people/f4g/IFTF_equitable_futures_toolkit_031219.pdf](https://www.iftf.org/fileadmin/user_upload/images/people/f4g/IFTF_equitable_futures_toolkit_031219.pdf)
**Required Readings: WW **“Appendix B: Writing Workshops: Guidelines for Feedback”**, PH **“Summaries, Motivation”**, PT **“Extreme Programming” ch. 4 pp. 88-90
### **Wk 4. Develop a networking strategy**
During this and the following weeks it would be a great time for someone to present some of the “Wise Democracy”, “Fearless Change”, and “Liberating Voices!” patterns. Who else should we involve in our learning? We will start reaching out now to other people to co-design final outcomes for the class. In the Writers Workshop from this week on (until the last week) we will continue to workshop new patterns written by students. It is expected that draft material will be workshopped at least twice. In the Open Studio we will begin with another game:
#### **Game: HEY! Imaginable Guidelines**
ŞanalArc (2018) created a city themed game in which participants use cards to discover how cities are designed by selecting topics that are necessary, desirable, or irrelevant to the urban-design problem they are trying to solve (Hattam, 2019). The game provokes players to make changes and continue the conversation after the game has concluded (ŞanalArc, 2018).
* ŞanalArc (2018). HEY! Imaginable Guidelines [Card game]. Istanbul, Turkey.[ https://www.imaginableguidelines.org/](https://www.imaginableguidelines.org/)
**Required Readings: WW **“Part 1: The Work of Making Things (p. 25-52)”**, PH **“Patterns and Pattern Catalogue”**, PT **“Critical Marxist theory and Klaus Holzkamp” pp. 122-123
### **Wk 5. Project design**
What questions will our projects be addressing? What problems will we be solving in our final projects? What problems will we not be solving? How do we justify these choices? What are appropriate research methods? In the Open Studio we will begin by looking at another game:
#### **Game: Foldit[ http://fold.it/](http://fold.it/)**
Foldit is an online puzzle video game about protein folding. It is part of an experimental research project developed by the University of Washington, Center for Game Science, in collaboration with the UW Department of Biochemistry. The objective of Foldit is to fold the structures of selected proteins as perfectly as possible, using tools provided in the game.
* [https://en.wikipedia.org/wiki/Foldit](https://en.wikipedia.org/wiki/Foldit)
**Required Readings: WW **“Crowd, Coda: The Work of Making Things”**, PH **“Convening a Group”**, PT **“Life in everyday systems”, “Participation and shared vision”, pp 81-83
### **Wk 6. Gain experience with dialogue-facilitation strategies.**
How do the approaches to peer learning that we have been examining so far in the course relate to each other? E.g., imagine a conversation between some of the authors whose work we have looked at (say, Alexander and Ostrom). What would they agree about? What would they disagree about? We will explore different facilitation strategies to strategically prepare for the design phase in the final weeks of the course, asking “What would be a good design for peer learning in your planned intervention?” In the Open Studio we will begin by looking at another game.
#### **Game: Pandemic**
Pandemic “is a cooperative board game designed by Matt Leacock and first published by Z-Man Games in the United States in 2008. Pandemic is based on the premise that four diseases have broken out in the world, each threatening to wipe out a region.”
* [https://en.wikipedia.org/wiki/Pandemic_(board_game)](https://en.wikipedia.org/wiki/Pandemic_(board_game))
**Required Readings: PH **“Cofacilitation, workscape, participation, coworking, coworking story, Assessment”**, PT **“Patterns in the Theory of dialogue” pp. 99-100
### **Wk 7. Demonstrate an understanding of technologies used in online peer production and small-scale collaborations.**
What additional tools and literacies will we need to “contribute back” during the rest of the course? What technologies do the projects that we are developing need in order to work optimally? Do these tools exist? What would we need to learn or develop to bring them into existence, or to use existing tools well? In the Open Studio we look at a somewhat more abstract game.
**Required Readings: PH **“Realtime, Connectivism, Play”**, PT **“Patterns in Online communities”, pp. 90-92
**Game: Causal Layered Analysis (CLA) game[ ](https://library.teachthefuture.org/wp-content/uploads/2020/02/CLA-Game-2020.pdf)**
CLA consists of four levels: litany (quantitative problems, trends, often exaggerated, often used for political purposes); social cause (interpretation given to quantitative data, e.g. futures tables); discourse/worldview (that supports and legitimates or challenges social structure) and
metaphor/myth (deep stories, collective archetypes, images). The CLA game is a dialogue about scenarios with each scenario group going through the four CLA layers.
* [https://library.teachthefuture.org/wp-content/uploads/2020/02/CLA-Game-2020.pdf](https://library.teachthefuture.org/wp-content/uploads/2020/02/CLA-Game-2020.pdf), and
* [http://www.metafuture.org/cla%20papers/TransformativeEnergyScenariosCLAGaming.pdf](http://www.metafuture.org/cla%20papers/TransformativeEnergyScenariosCLAGaming.pdf)
### **Wk 8. Discuss the relationship between learning and social movements.**
How can we contextualise the Peeragogy project relative to other initiatives? Does the project itself have “peers” that it can learn from? In the Open Studio, building on our experience with other games, we now switch to something a bit different.
#### **Game: Pattern Game**
This week we will introduce a more abstract game related to patterns. We’ll call it the “Pattern Game”. We will use the patterns that we have looked at so far in the course as our initial set of playing pieces. Patterns can be related to each other through several moves:
* PATTERN introduces a pattern (resolves a conflict)
* ANTIPATTERN introduces an antipattern (creates a conflict)
* MERGE saying that two patterns are part of the same bigger pattern
* SPLIT saying that one pattern can be usefully disambiguated into two.
**Required Readings: PH **“Sphinx”**, PT **“Patterns in Online communities”, “Patterns in Social Movements” pp. 92-93
### **Wk 9. Put design patterns within their social and historical context.**
Reflecting on our experience in this course, how does it relate to the past, present, and future of learning and collaboration? Where have other collaborative approaches succeeded in the past? What role do we see design patterns play in future economic development, equitable distribution of resources, and sustainability? Do we need to change the pattern format to address these issues?
#### **Game: “Pattern Game” from last week or a new one invented by students**
**Required Readings: PH **“Cofacilitation, workscape, participation, coworking, coworking story, Assessment”**, PT **“The development of economy” pp.131-135
### **Wk 10. Design: Understand the context of your project.**
Show how you understand the context you are working in. Use the Seminar and Writers Workshop to clarify this context. Look at some of the other problems the context contains, and look at some adjacent contexts. To really understand the nature of the context will likely require speaking to and spending time with people who are affected by the issues you are considering. Read the [Design Justice Principles](https://designjustice.org/read-the-principles). Think about the principles that guide how you approach the context you’re working with and how this shapes your understanding.
From this week we begin to use the Seminar for presentation of original research in preliminary form, and textbook readings are replaced with formally publishing new content.
#### **Game: “Pattern Game” from last week or a new one invented by students**
#### **Writings: **Contribute to the Peeragogy Handbook, Wikipedia, or your blog.
**Optional suggested reading**: **PT** “Pattern theory as a systems theory” pp. 103-105
### **Wk 11. Design: Problem Development.**
How have you understood the needs you’re addressing, and how do you make the overall design reflect those needs? How do you understand the problem? Have you understood other people? Can other people understand you? What form does the problem take? Do not assume that the answer to any of these questions is clear. Use the Writers Workshop to clarify the problem or problems you are examining. How do they work? What are their constituent sub-problems? Can you define the problem in a different way? Are there related problems, and how do those impact yours?
#### **Game: “Pattern Game” from last week or a new one invented by students**
#### **Writings: **Contribute to the Peeragogy Handbook, Wikipedia, or your blog.
**Optional suggested reading**: **PT** “Technical modularity and object orientation” pp. 105-108
### **Wk 12. Design: Solution Development.**
Encourage your colleagues in the course and elsewhere to give different answers that address the problem defined in Week 11, seeking inspiration from elsewhere and co-designing with a range of different people. What criteria do you use to prefer one solution over another? Do any of the solutions cause further problems, and what will you do about those?
#### **Game: “Pattern Game” from last week or a new one invented by students**
#### **Writings: **Contribute to the Peeragogy Handbook, Wikipedia, or your blog.
**Optional suggested reading**: **PT** “The paradigm” pp. 142-144
### **Wk 13. Share projects back with the community.**
Find ways to share your final projects, both pattern languages or design projects. This week we will devote all of our sessions to “Open Studio” time.
(Weeks 1-9 are paired with readings in the main textbooks and student selected readings from the list below. Weeks 10-13, please see “What is the framework for innovation? Design Council’s evolved Double Diamond”.)
#### **Writings: **Summarise the work you have done in the course in a **portfolio**, complete your **project** and be sure to **submit a final 1 page assessment of your project**.
**Optional suggested reading**: **PT** “conclusion” pp. 144-145
# **Pattern Language Books/Languages**
To present a pattern language in the Seminar you can come up with various strategies: showing a map of the language, showing example patterns, demonstrating the patterns with example use case scenarios, and so on.
"Scrum Patterns: The Spirit of the Game” ([http://scrumbook.org/](http://scrumbook.org/))
Alexander et al.[ The Oregon Experiment](https://en.wikipedia.org/wiki/The_Oregon_Experiment)
Alexander et al.[ A Pattern Language: Towns, Buildings, Construction](https://en.wikipedia.org/wiki/A_Pattern_Language)
[Wise Democracy](https://www.wd-pl.com/patterns/)
[Fearless Change](https://fearlesschangepatterns.com/)
[Liberating Voices!](https://www.publicsphereproject.org/patterns/)
[Group Pattern Language](https://groupworksdeck.org/)
[The Case For Game Design Patterns](https://www.gamasutra.com/view/feature/132649/the_case_for_game_design_patterns.php) (Bernd Kreimeier)
Bergin, J. et al. (2012). _Pedagogical patterns: advice for educators_. Joseph Bergin Software Tools.
Isaacs, W. (1999). _Dialogue: The Art Of Thinking Together_. Currency. [https://www.amazon.com/Dialogue-Thinking-Together-William-Isaacs/dp/0385479999](https://www.amazon.com/Dialogue-Thinking-Together-William-Isaacs/dp/0385479999)
Coplien, J. O., & Woolf, B. (1997). A pattern language for writers’ workshops. _C Plus Plus Report_, _9_, 51–60.
Meszaros, G., & Doble, J. (1997). A Pattern Language for Pattern Writing. In _Pattern Languages of Program Design 3_ (p. 656). Addison-Wesley Professional. [http://xunitpatterns.com/~gerard/plopd3-pattern-writing-patterns-paper.pdf](http://xunitpatterns.com/~gerard/plopd3-pattern-writing-patterns-paper.pdf)
_Seeing Transition as a Pattern Language Conference Booklet_. (2010). 1–108. [https://transitionculture.org/wp-content/uploads/Seeing-Transition-as-a-Pattern-Language-conference-booklet-latest-version-1.1..pdf](https://transitionculture.org/wp-content/uploads/Seeing-Transition-as-a-Pattern-Language-conference-booklet-latest-version-1.1..pdf)
[http://www.conservationeconomy.net/pattern_map/noflash/](http://www.conservationeconomy.net/pattern_map/noflash/)
[https://www.designpatternsformentalhealth.org/](https://www.designpatternsformentalhealth.org/whataredesignpatterns)
Iba, T., & Isaku, T. (2016). _A pattern language for creating pattern languages: 364 patterns for pattern mining, writing, and symbolizing_. 90–102. https://doi.org/https://dl.acm.org/doi/10.5555/3158161.3158175
# **Additional Readings (Paper length)**
Any one of these papers would be suitable for a seminar presentation. See Box 3 at the end of this section for a special note for philosophy students.
Alfadel, M., Aljasser, K., & Alshayeb, M. (2020). Empirical study of the relationship between design patterns and code smells. Plos one, 15(4), e0231731.
Alexander, C. (1965). A City Is Not a Tree. Architectural Forum, 122(1), 58–62. https://www.patternlanguage.com/archive/cityisnotatree.html
Banathy, B. H. (1991). Systems Design of Education: A Journey to Create the Future. Educational Technology Pubns.
Coplien, J. O., & Woolf, B. (1997). A pattern language for writers’ workshops. C Plus Plus Report, 9, 51–60.
Cunningham, Ward; Mehaffy, Michael W. (2013). "Wiki as pattern language". Proceedings of the 20th Conference on Pattern Languages of Programs, October 23–26, 2013, Monticello, Illinois. PLoP '13. Corryton, TN: The Hillside Group. pp. 32:1–32:14. ISBN 9781941652008.
Dearden, A., Finlay, J. (January 2006). "Pattern Languages in HCI: A critical review". Human Computer Interaction. 21 (1).
Dovey, K., & Alexander, C. (1990). The pattern language and its enemies. Design Studies, 11(1), 3–9.
Goodyear, P., & Avgeriou, P. (2004). Towards a pattern language for networked learning. Networked Learning. http://www.networkedlearningconference.org.uk/past/nlc2004/proceedings/individual_papers/goodyear_et_al.htm
Heinonen, S., Minkkinen, M., Karjalainen, J., & Inayatullah, S. (2017). Testing transformative energy scenarios through causal layered analysis gaming. Technological Forecasting and Social Change, 124, 101–113. https://doi.org/10.1016/j.techfore.2016.10.011
Inayatullah, S. (2006). Anticipatory action learning: Theory and practice. Futures, 38(6), 656–666.[ https://doi.org/10.1016/j.futures.2005.10.003](https://doi.org/10.1016/j.futures.2005.10.003)
Kerspern, B. (2019). Game Design Fiction : Bridging mediation through games and design fiction to facilitate anticipation- oriented thinking. 3rd Conference on Anticipation, Oslo Norway. http://anticipationconference.org/wp-content/uploads/2019/10/Anticipation_2019_paper_38.pdf
Kohls, C. (2010). The structure of patterns. Proceedings of the 17th Conference on Pattern Languages of Programs - PLOP ’10, 1–10. https://doi.org/10.1145/2493288.2493300
Kohls, C. (2011). The structure of patterns: part II - qualities. Proceedings of the 18th Conference on Pattern Languages of Programs - PLoP ’11, 1–18. https://doi.org/10.1145/2578903.2601079
Kreimeier, B. (2002). The Case For Game Design Patterns. Gamasutra Features. https://www.gamasutra.com/view/feature/132649/the_case_for_game_design_patterns.php
Meszaros, G., & Doble, J. (1997). A Pattern Language for Pattern Writing. In Pattern Languages of Program Design 3 (p. 656). Addison-Wesley Professional. http://xunitpatterns.com/~gerard/plopd3-pattern-writing-patterns-paper.pdf
Nagasaka, I. (2009). Syntax and Semantics of Pattern Language. IASDR 2009 Conference, 547–556. http://www.iasdr2009.org/ap/Papers/Orally Presented Papers/Design Method/Syntax and Semantics of Pattern Language.pdf
Noble, J. (1998). Organising Patterns into Languages Towards a Pattern Language for Object Oriented Design. June, 1–22.
Pierri, P., & Warwick, L. (2016). Changing the mental health system by design. _Proceedings of People, Place and Policy Conference 2016_, _September_, 18.
Raymond, C., Snaddon, B., Chisin, A., Morrison, A., Steggell, A., & Ruvo, M. Di. (2019). Design, relational ontologies and futurescaping. 3rd Conference on Anticipation, Oslo Norway. https://web.archive.org/web/20191221200710/http://anticipationconference.org/wp-content/uploads/2019/10/Anticipation_2019_paper_141.pdf
Schuler, D. (2009). Pattern languages as critical enablers of civic intelligence. PUARL Conference. http://publicsphereproject.org/sites/default/files/Critical Enablers of Civic Intelligence.reduced.pdf
Sweeney, J. A. (2017). Game on: Foresight at play with the United Nations. Journal of Futures Studies, 22(2), 27–40. https://doi.org/10.6531/JFS.2017.22(2).A27
Zamenopoulos, T., & Alexiou, K. (2020). Collective design anticipation. Futures, 120 (November 2018). [https://doi.org/10.1016/j.futures.2020.102563](https://doi.org/10.1016/j.futures.2020.102563)
```
Box 3: For philosophy students
These readings assume more background than most of the ones on the list above. If you are interested in tackling some of these papers you may want to speak with the course organiser to plan a reading strategy.
Guillaume Collett. Deleuze, Guattari, and the Problem of Transdisciplinarity (chapters therein)
Dumoncel, J. C. (2013). Deleuze challenges Kolmogorov on a Calculus of Problems. Deleuze Studies, 7(2), 169-193.
```
# **Additional Readings (Book length)**
Any one of these could be presented in summary within the Seminar. If you would like to present a book that’s not listed here, you may argue for a substitution in the course Roadmap we will create together. We presumably won’t be able to cover everything on this list, so you must choose wisely!
Aber. The Sustainable Learning Community
Banathy. Designing Social Systems in a Changing World
Batchelor. After Buddhism
Benkler. Collective Intelligence
Escobar. Designs for the Pluriverse Radical Interdependence, Autonomy, and the Making of Worlds.
Freire. Pedagogy of Freedom: Ethics, Democracy, and Civic Courage
Hassan. The Social Labs Revolution
Hesse. The Glass Bead Game
Hill. Essays on Volunteer Mobilization in Peer Production
Illich. Tools for Conviviality
Jacobs. Dark Age Ahead
Mulholland. Re-imagining the Art School
Ostrom, Understanding institutional diversity
Ralya. Unframed: The Art of Improvisation for Game Masters
Ranciere. The Ignorant Schoolmaster
Rosovsky. The University: An Owner's Manual
Ross. Reclaiming the University for the Public Good
Shalloway and Trott. Design patterns explained: A new perspective on object-oriented design.
Sloterdijk. You Must Change Your Life.
Sher. Wishcraft: How to Get What You Really Want
Unger. Knowledge Economy
Weber. The Success of Open Source
# **Meeting times and location**s
Day of week: TBA
Location: Zoom, details TBA
Time for Zoom Sessions: TBA
# **Feedback, grades, due dates**
Formative (i.e., ungraded) feedback on material presented in Seminar will be developed collaboratively in the Open Studio, using a structured Action Review template (Box 2). For the final project, an online panel of peeragogues and other community members will be invited to give additional feedback that will help students develop their work after the course has finished.
Self-assessments of presentations are due at the end of the Studio following the Seminar section you lead. **Please submit self-assessments using one sheet of Letter paper, double spaced, in 12 point Arial, with space in margins for comments, strictly adhering to a 150-250 word limit.** Assessments will be returned the following week with a letter grade and indicative comments.
# **Additional organizational details**
The Seminar will be recorded and disseminated: we will ask for an appropriate waiver. Students should also sign the CC Zero waiver in advance of making any Peeragogy Handbook contributions, and agree to CC-By-SA for any Wikipedia contributions.
Remember that final projects will often be collaborative, while each student is responsible for their own one-page summary and evaluation of their contributions.
## Special Needs
Tufts offers accessibility services, including assistive technology. Details are available via [https://students.tufts.edu/student-accessibility-services](https://students.tufts.edu/student-accessibility-services); they can be contacted by email or phone: [staarcenter@tufts.edu](mailto:staarcenter@tufts.edu) or 617-627-4539.
## Attendance & Participation
While attendance is not strictly mandatory, strong participation will be necessary to secure a reasonable grade and to make good use of time. This certainly makes attendance a priority. If you have to miss a session here or there for personal reasons this will not be a problem. However, if you find yourself missing more than a few sessions you should consider dropping the course out of respect to your fellow students.
## Assignment Submission
As reviewed above, formal evaluation is based on 3 pages of written material. Each should be presented in a single page, double spaced, with wide margins for comments. Because the course is “virtual”, PDF submissions by email to the course lead are preferred.
## Late Work
Late work is not generally accepted except under documented exceptional circumstances. Please contact the course lead if you need to submit something late: ideally before the deadline, but in any case ASAP.
## Academic Integrity
The Standards of Professional Conduct and Integrity are the first policy listed at [https://www.tufts.edu/about/policies](https://www.tufts.edu/about/policies). Students should be aware of and comply with all applicable policies. If something is unclear or if a policy has been violated in a way that affects you, please speak with the course lead or appropriate authorities.
## Auditing
Tufts Students who are able to attend the entire course are permitted to audit rather than take it on a marked basis. In this case self-evaluations will be read but not be graded, and you should register for EXP-0106-F (by Special Arrangement) rather than this course.
# **Bibliography**
The Peeragogy Handbook is available at peeragogy.org. Further writings informing the design of this course are listed below.
J. Corneli, C. J. Danoff, C. Pierce, P. Ricaurte, and L. Snow MacDonald. Patterns of Peeragogy. In: Pattern Languages of Programs Conference 2015, Pittsburgh, PA, USA, October 24-26, 2015. Ed. by F. Correia. ACM. 2015. [https://dl.acm.org/doi/10.5555/3124497.3124531](https://dl.acm.org/doi/10.5555/3124497.3124531)
J. Corneli, D. Murray-Rust, and B. Bach. Towards Open-World Scenarios: Teaching the Social Side of Data Science. In: Cybernetic Serendipity Reimagined Symposium, Proc. Annual Convention of the Society for the Study of Artificial Intelligence and Simulation of Behaviour, University of Liverpool, Liverpool, UK, 4th-6th April 2018. Ed. by JC, C. Gucklesberger, C. Johnson, and A. Jordanous. 2018. [http://ccg.doc.gold.ac.uk/serendipityaisb18/papers/paper_7.pdf](http://ccg.doc.gold.ac.uk/serendipityaisb18/papers/paper_7.pdf)
J. Corneli, S. Holland, A. Pease, P. Mulholland, D. Murray-Rust, T. Scaltsas, and A. Smaill. Patterns of Design. In: 23rd European Conference on Pattern Languages of Programs (EuroPLoP ’18), July 4–8, 2018, Irsee, Germany. Ed. by T. Isaku. 2018. [https://dl.acm.org/doi/10.1145/3282308.3282331](https://dl.acm.org/doi/10.1145/3282308.3282331)
# Colophon
Course syllabus by Joe Corneli, Charlotte Pierce, Raymond Puzio, Paola Ricaurte, Vitor Bruno, and Charles Jeffrey Danoff. Licensed under Attribution 4.0 International (CC BY 4.0) [https://creativecommons.org/licenses/by/4.0/](https://creativecommons.org/licenses/by/4.0/).
Portions of this syllabus were adapted from Standards-Based Web Design Course syllabus by Karl Stolley [https://courses.stolley.co/wd/](https://courses.stolley.co/wd/). Licensed under CC BY 4.0 [https://creativecommons.org/licenses/by/4.0/](https://creativecommons.org/licenses/by/4.0/).